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IS A COMPLETE COLLECTION 



OF THE PUBLISHED 


MEZZOTINT ENGRAVINGS 
OF S. ARLENT - EDWARDS 
ENGRAVED AND PRINTED 
IN COLOR BY HIM 
AT ONE PRINTING 
WITHOUT RETOUCHING 


Copyright 1910 
by E. L. Knoedler 
New York 


NE4.4.& 

.L^ 

i 


S. ARLENT-EDWARDS 
BY 

MISS MARIE A. HYDE 


©Cl. A 25 9105 





/ 











No. 

Title. 

From. 

No. 

Pub. 

Gallery. 

1 . 

Lady Hallett. 

T. Gainsborough. 

135. 

Rothschild. 

2. 

Duchess of Devonshire T. Gainsborough. 

125. 

J. P. Morgan. 

3. 

Lady Sheffield 

T. Gainsborough. 

135. 

Rothschild. 

4. 

Emma, (Lady Hamil¬ 
ton). George Romney. 

175. 

Rothschild. 

5. 

Bosom Friends. (Miss 

Bowles) Sir J. Reynolds. 

175. 

Wallace. 

6. 

Lady Hamilton as Na¬ 
ture George Romney. 

225. 

H. C. Frick. 

7. 

Countess Spencer. 

Sir J. Reynolds. 

175. 

Spencer. 

8. 

The Frankland Sisters John Hoppner. 

175. 

Tennant. 

9. 

Lady Anne Bingham. Sir J. Reynolds. 

175. 

Spencer. 




































No. 

Title. 

From. 

No. 

Pub. 

Gallery. 

10. 

Patience. (Mrs. Drum¬ 
mond Smith.) George Romney. 

175. 

Northampton. 

11. 

Mrs. Sarah Siddons. T. Gainsborough. 

125. 

National. 

12. 

Mrs. Benwell. 

George Romney. 

175. 


13. 

The Blue Boy. (Jona¬ 
than Buttall.) T. Gainsborough. 

175. 

Westminster 

14. 

Nature. (Calmady 

Children). Sir T. Lawrence. 

175. 

Huntington 

15. 

The Pink Boy. 

T. Gainsborough. 

175. 

Rothschild. 

16. 

Mrs. Davenport. 

George Romney. 

175. 

Bromley-Dav¬ 

17. 

Lady Elizabeth Comp- Sir J. Reynolds. 

175. 

enport. 

18. 

ton. 

Countess Grosvenor. Sir T. Lawrence. 

225. 

Cliesham. 

Sutherland. 







































No. 


No. 

Title. 

From. 

Pub. 

Gallery. 

19. 

Mrs. John Douglas. 

T. Gainsborough. 

150. 

Rothschild. 

20. 

Duchess of Devonshire 





and Child. 

Sir J. Reynolds. 

135. 

Devonshire. 

21. 

Mrs. Robinson. 

T. Gainsborough. 

135. 

Wallace. 

22. 

Visit to The Boarding 





School. 

George Morland. 

175. 

Wallace. 

23. 

Mrs. Norton. 

T. Gainsborough. 

175. 

Rothschild. 

24. 

Countess of Mexbor- 





ough. 

John Hoppner. 

175. 


25. 

Mrs. Mears. 

T. Gainsborough. 

175. 

Rothschild. 



























No. Title. 

26. Adelaide as Diana. 

27. Henrietta as Flora. 

28. Marie Louise. 

29. Sympathy. 

30. Innocencia. 

31. La Dauphin. 

32. The Music Lesson. 

33. The Garden Party. 


No. 

From. Pub. 

J. M. Nattier. 175. 

J. M. Nattier. 175. 

J. M. Nattier. 125. 

J. B. Greuze. 225. 

J. B. Greuze. 125. 

Mme. Vigee LeBrun. 175. 
Nicholas Lancret. 175. 

Nicholas Lancret. 175. 


Gallery. 

Versailles. 

Versailles. 

Versailles. 

Wallace. 

Wallace. 

Louvre. 

Louvre. 

Louvre. 





























No. Title. 


40. Madonna. 

41. Beatrice D’Este. 

42. Madonna. 


From. 


Luini. 

Leonardo di Vinci. 
Perugino. 


No. 


Pub. 

Gallery. 

175. 

National. 

225. 

Louvre. 

175. 

IJffizi. 

175. 

"Louvre. 

175. 

S. Maria No¬ 


vell]*. 

225. 

S. Maria No¬ 


vel li. 

225. 

Ambrosiana. 

175. 

Ambrosiana. 


Milan. 

225. 

Uffizi,Florence 


34. Madonna. Botticelli. 

35. La Belle Ferronniere. Leonardo di Vinci. 

36. Madonna. F. F. Lippi. 

37. Mona Lisa. Leonardo di Vinci. 

38. Ludovica Tornabuoni. Ghirlandaio. 

39. Baptista Tornabuoni. Ghirlandaio. 







































No. 


No. Title. From. 

Pub. 

Gallery. 

43. Julia McDonald. Sir T. Lawrence. 

225. 


44. Mrs. Sheridan. T. Gainsborough. 

45. Princess Augusta So¬ 

125. 

Rothschild 

phia. T. Gainsborough. 

175. . 

Windsor. 

46. Playmates. Sir J. Reynolds. 

125. 


47. Lady Mulgrave. T. Gainsborough. 

225. 

Campbell. 

48. Age of Innocence. Sir J. Reynolds. 

49. Miss Farren. (Coun¬ 

135. 

National. 

tess of Derby). Sir T. Lawrence. 

125. 

J. P. Morgan. 

50. Master Lambton. Sir T. Lawrence. 

175. 

51. Mrs. Robinson. George Romney. 

175. 

Wallace. 

52. Mrs. Wells. George Romney. 

53. Miranda. (Mrs. Mich¬ 

135. 

J. II. Smith. 

ael Angelo Taylor) John Hoppner. 

175. 

Londonderry 


























No. 

No. Title. From. Pub. 

54. Duchess of Rutland. Sir J. Reynolds. 175. 


55. 

Duke and Duchess of 
Cumberland. 

T. Gainsborough. 

225. 

56. 

Lady Sophia Musters. Sir J. Reynolds. 

175. 

57. 

Izaak Walton. 

E. Tuskipp. 

175. 

58. 

Gypsy’s Warning. 

Rev. W. A. Peters. 

125. 

59. 

The Fortune Teller. 

Sir J. Reynolds. 

125. 

60. 

Good Night. 

Henry Mosler. 

225, 


Gallery. 

Burned 1816 
in Belvoir 
Castle. 

Buckin g ha m 
Palace. 
Leconfield. 

Gild Hall. 
Rothschild. 











































No. Title. 

61. Anne of Cleves. 

62. Elvira. 


From. 

Hans Holbein. 

P. della Francesca. 


No. 

Pub. Gallery. 

225. .Louvre. 

225. Poldi Pezzoli, 
Milan. 

225. Cassel. 

135. Hermitage. 
225. Amsterdam. 
225. Musee Conde 
Chantilly. 

225. Hermitage. 


63. Saskia Van Ulenburgh Rembrandt. 

64. Rembrandt’s Mother. Rembrandt. 

65. The Lute Player. Franz Hals. 

66. Simonetta Vespucci. Pollajuolo. 

67. William, Prince of 

Orange. A. Van Dyck. 


















































FTER some years of experimenting and 
investigating, I believe that I have succeeded 
in reviving the almost obsolete art of colour 
printing from a mezzotint plate—done in one 
printing and without any retouching, as it 
was practiced a hundred years ago by the 
English engravers—examples of whose work are now in 
such great demand. I have gone far enough in my experi¬ 
ments to be able to confidentially announce that all the 
beauties of the old printing will be retained in mine and I 
can secure a depth and richness of color that can be achieved 
by no other system of printing. 

After Jacob Le Blond, in 1720, invented printing in 
colours from a mezzotint plate, the art was practiced and 
gradually improved until it arrived at its highest point of 
perfection late in the 18th century. Since then, and for 
the past century it has, for some reason, fallen into desue¬ 
tude; and though it has been revived with varying success, 
the experimental labor, time, etc., necessary to make a good 
proof has made the process so expensive that it has not met 
with the support necessary to its progress. 

Every proof in colours is practically an oil painting. 
When the plate is engraved and ready to be printed, the 
coloured inks—which are specially ground and mixed with 
thick oil and varnish—are rubbed on the plate in a thick 
mass and then wiped off the surface, the fine indentation 
of the mezzotint leaving a place for the colours to lie. Each 
colour has to be put on and rubbed separately. After the 
ink is put on and the plate wiped and manipulated in a 











manner which blends the colours together, so that there is 
no ink left except in the engraved work, the proof-paper 
is then laid on the plate and is passed through a 
heavy copperplate hand-press, the paper being thus pressed 
into the engraved work in the plate and taking up the ink 
and so making the finished proof. The same process has to 
be gone over for each proof and consequently it necessi¬ 
tates a great amount of labor and experience, but the end 
justifies the means, for these engravings possess a richness 
of colour which can be achieved by no other process. 

Mezzotint is a style of engraving on copper or steel 
differing entirely from any other. The surface of the plate 
is first indented all over by the action of an instrument, 
like a chisel, with a serrated edge, called a mezzotint 
grounder. This tool being rocked to and fro in many direc¬ 
tions (technically called ways) produces a “nap” or 
“Burr,” called the mezzotint ground and which, if an 
impression were taken, would be uniformly black. A mezzo¬ 
tint engraver’s tools are few—a scraper and burnisher. 
The design is drawn upon this ground by scraping away 
the “burr,” scraping more and more of the ground in pro¬ 
portion to the shades, using a burnisher for the highest 
lights. The mezzotinter’s work has a breadth of effect, a 
depth and brilliancy of tone to be attained by no other style 
of engraving. But the freedom of handling which this 
method allows makes a keen knowledge of drawing and 
the values of black and white indispensable. 

S. ARLENT EDWARDS. 





























































Goerck Art Press 
925 Sixth Ave. N. Y. 


Hfe5 85 i 






































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